I thought it would be healthy to do this exercise: 1) It is using up a lot of brain space not wanting to do it; 2) it might be wise to do something process orientated since much as I know I would like to keep poking at the hurt bit that I’ve found, it’s probably a good idea just to cradle it for a little.
Rather than chosing from my sketchbook I decided to combine some of the image and influence research with this exercise to help give it some weight. In the days of mass produced prints, home copying and laser printing, a monoprint drawing makes absolutely no sense to me. If it’s my drawing why add another process in – if I can paint it, why paint it to a plate and then print it to paper/fabric? I kind of see the value in printing to stabilised fabric as the plate retains a certain amount of paint so the fabric doesn’t become too saturated.
Anyhow, I though it healthy and wise and went for the first painting which always offers me solace, and with the prominence of blue has a calming and stabilising effect on the expression of the last couple of days.
The painting is Casper David Friedrich’s ‘Monk by the Sea’.
I needed to mix my blues first and then work fast painting in strips of colour. I omitted the fine details but It did make me look even closer at the image of the picture I had.
First print and ghost print:
I was surprised how much more I could paint today before it was too dry to print, since the weather is cooler and more damp.
I then chose a contrasting mood. Sickert’s ‘Lazarus’. I think the connection to my recent work doesn’t need spelling out. I had to leave out the pink and red tones in the painting as the work was drying rapidly – is this something to do with green pigment?
From left to right – ‘Lazarus’ image that I laid gelliplate over – thereby resulting in mirror image. Hardly any acrylic left for ghost print.
Finally, I’ve been continuing to look at the work of Elka Kazmierczak and have started to research her influence (German Expressionists) so I looked to the work of Karl Schmidt-Rottluff and his work ‘Gap in the Dyke’. At first I misread the title as ‘Gap in the Dark’ and read the picture with this in mind. It was only when I cam to annotate my samples that I realised my mistake and created a different narrative. Point being the massive impact of titles! I missed the figures completely in my copy! I was so interested in the movement of the lines of colour and getting the orange/red mix just right that I missed them.
As can be seen below the ghost print is almost non-existent. I am concluding that different pigments have a different drying rate – or the large sweeps of paint in the Friedrich print prevented it drying so quickly. I know you can get acrylic medium to solve this.
It was a healthy exercise simply working with colour and pigment. But I don’t quite get the point of it… one more sample and I can move to ex 3 which inspires me more in its unpredictability and freedom.